In February 2018, the portrait of former First Lady Michelle Obama was unveiled at the National Portrait Gallery in Washington, D.C. Within this institution of power, a Greek Revival building lined with marble floors and white columns, images of presidents and other US leaders are captured in traditional oil paintings. In envisioning their own portraits, the Obamas made bold choices, which differed from most of their predecessors’ in the artists who were chosen to paint them and the styles in which they were portrayed.
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The GIA Library is an information hub that includes articles, research reports, and other materials covering a wide variety of topics relevant to the arts and arts funding. These resources are made available free to members and non-members of GIA. Users can search by keyword or browse by category for materials to use in research and self-directed learning. Current arts philanthropy news items are available separately in our news feed - News from the Field.
Art is not magic; most artists are not all that different from other people. However, many of them developed a skill or asset that most of us haven’t: a fascination for the undercurrent in our society, in our social encounters, in our practices, in our organizations.
Jaap Warmenhoven, Stanford Social Innovation Review
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Building a Resilient Sector (9.2Mb)
One does not discover new lands without consenting to lose sight of the shore.
— André Gide
About four years ago I attended an extraordinary meeting in Philadelphia. Susan Nelson, principal of Technical Development Corporation (TDC), was presenting the draft of Getting Beyond Breakeven to the Greater Philadelphia Cultural Alliance and many other stakeholders associated with the work.
Spurred on by technological advances, the number of aspiring professional artists in the United States has reached unprecedented levels. The arts’ current system of philanthropic support is woefully underequipped to evaluate this explosion of content — but we believe that the solution to the crisis is sitting right in front of us. Philanthropic institutions, in their efforts to provide stewardship to a thriving arts community, have largely overlooked perhaps the single most valuable resource at their disposal: audience members.
Rocco Landesman’s Can of Worms
At a recent public debate about organic food, the proponents of organic farming extolled its virtues by listing its various benefits. It is kinder to the environment, they said, and to animals, and it keeps toxic chemicals out of our bodies. “But does it taste better?” an audience member asked. To my surprise, the experts hesitated. “We can’t reliably measure that effect,” one of them explained. “So it’s not a claim we make.” The exchange reminded me about everything that’s wrong with arts advocacy these days.
2010, 195 pages, ISBN 978-0-470-49010-5. John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ, 07030, 201-748-6011, www.wiley.com
As funders we have three main challenges: first, getting a handle on the extent and impact of the recession; second, exerting leadership — being bold, positive, and opportunistic without being insensitive; and third — and most important — asking ourselves the same tough questions that we are asking grantees: how do we slip the vice-like grip of old mindsets and behaviors and adapt so we increase our relevance, resilience, and meaningful contributions to our community?
— Foundation President
— Foundation President
In late January GIA polled its 309 member organizations about their organization's responses to the economic downturn. 117 (38%) members responded, which provides a healthy sample of the membership.
Members reported their expected 2009 arts grantmaking would likely compare to 2008 as follows:
- 41% expected that 2009 would be the same as 2008.
- 13% expected that it would be reduced to 90% of 2008.
- 12% expected that it would be reduced to 80% of 2008.
- 11% expected that it would be reduced to 70% of 2008.